Gaïa and Fiona, ages 8 and 11. They are onstage but couldn’t care less about the codes of theatre or dance, for they have no idea what they are. They prefer life, simple and raw.
Their names are Gaïa and Fiona, ages 8 and 11. They are onstage but couldn’t care less about the codes of theatre or dance, for they have no idea what they are. They make light come bursting through the curtain like a truth, turning our relationship to the world upside down. An inherent fragility colours their performance. What will they show us?
With SPOON, Nicolas Cantin sketches the final portrait of a triptych that, with CHEESE (2013) and Klumzy (FTA, 2014), focused on the memories and imaginations of performers of different generations. The three tableaux offer three perspectives on intimacy, like a series of nesting dolls getting closer and closer to childhood until they reach its impenetrable heart, dense and precious. With the strong presence of Gaïa and Fiona, any nostalgia is quashed, any choreography kept at bay. Their spontaneous gestures and movements summon life, simple and raw, directly to the stage.
Created by Nicolas Cantin
Performed by Fiona Chevarier + Gaïa Won de Jong
Artistic accomplice Katya Montaignac
Lighting design Karine Gauthier
Produced by Nicolas Cantin + Daniel Léveillé Danse
Coproduced by Festival TransAmériques + La Chapelle Scènes Contemporaines
Creative residency and codiffusion La Chapelle Scènes Contemporaines
Written by Mylène Joly
Translated by Neil Kroetsch
Promotional video Nicolas Cantin
Premiered at Festival TransAmériques, Montreal, on May 27, 2017
Nicolas Cantin (Montreal)
Nicolas Cantin is unclassifiable. After training at the Conservatoire d’Art dramatique in Avignon, he pursued his interests in clowning and acting with masks.
He left France for Quebec where he made his mark as an artist, notably with his trilogy Trois romances, which consisted of Grand singe (2009), Belle manière (2011) and Mygale (FTA, 2012). Not quite dance nor theatre, his work marries minimalist movement with sensitive exploration. His world plays with weakness and flaws, navigating like an icebreaker between intimacy and savagery.
Generally preferring to work behind the scenes, he nevertheless performed in Jachère, a solo by Christiane Bourget, and also in Tout se pète la gueule, chérie by Frederick Gravel (FTA, 2010). In addition to his choreography, he teaches at the National Theatre School of Canada and also at the École nationale de cirque in Montreal, where he created Honolulu Punch (2006). In 2013 he began a new cycle with Michèle Febvre in CHEESE, a series of three portraits inspired by memory and childhood games. The second piece featured Ashlea Watkin in Klumzy (FTA, 2014), and the trilogy concludes with SPOON. While his approach has become gentler over time, the force of his singular aesthetics is always based on the strong yet sensitive presence of the performers onstage.